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Ozark (Jason Bateman and Laura Linney Netflix drama)

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  • Jake
    Joined:
    Jul 2nd, 2011
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    #1203621866

    I noticed that Wyatt and Charlotte did not interact at all in s3, which is weird because it seemed as though they were being set up as a possible couple. I’m not sure what the point was to hook Wyatt and Darlene up, unless it’s something that will be explored in s4.

    Yeah, I kept waiting for that to happen and it didn’t. First Wendy didn’t tell Charlotte that it was Wyatt who prevented them from getting Zeke from Darlene which I think she would be pretty interested in. Then there was not even a reaction shot of Charlotte when Wyatt showed up with Darlene at the big night. Given how important Charlotte/Wyatt pairing was in the previous seasons, it seems like a major oversight.

    I think that season 3 was easily the best season on terms of being the best paced and high on adrenaline. A lot of truly unpleasent characters from previous seasons were eliminated and it brought some freshness. I think pale cinematography was replaced by… orange? That was my impression but I think it was for the best.

    Still:
    – why would Wendy accept her brother in when she knew that he’ll get her in trouble eventually?
    – why did Helen wanted Ellen around when it was easy for her to discover what she’s doing?
    – why did Charlotte abandon her fight for independence and became a trusted sidekick instead?

    The main reason is PLOT neccessity, I guess, but still…

    Wyatt reminds me of “Stranger Things” characters – he’s basically Jonathan Byers with looks of Steve Harrington. Him and Darlene… wow, just wow. It was bold and I’m not sure it paid off, though.


    TV_Sideliner
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    #1203622090

    Still:

    – why would Wendy accept her brother in when she knew that he’ll get her in trouble eventually?

    – why did Helen wanted Ellen around when it was easy for her to discover what she’s doing?

    – why did Charlotte abandon her fight for independence and became a trusted sidekick instead? The main reason is PLOT neccessity, I guess, but still…

    Sure, there’s an element of plot necessity. But from a character motivation standpoint, these decisions can be justified by a strong desire for connection:

    Wendy wants to connect with the brother she’s always resented. Helen wants to connect with the daughter who’s always resented her.

    Charlotte wants to connect with her mom, especially after they were at odds. She said to Jonah, “None of this works if we don’t stick together,” acknowledging that he always understood that in the past.

    These are understandable human needs and desires. And for anyone who’s had siblings they’re close to, Wendy’s oversight shouldn’t be that shocking. She proved over the course of the season that Ben was her blindspot in every way possible.


    Riley Chow
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    #1203647510

    I have done so many Ozark interviews this season and my biggest ones are actually still to come, but I want to take a moment to plug the ones that I did recently with the two nominated directors because they are among the more interesting ones that I have done for any show.  Alik Sakharov is already online; Ben Semanoff will be in a few days.

    Sakharov’s background is that he is a master of cinematography.  He was on The Sopranos from its pilot to its finale, then won an Emmy for Rome.  He was the original cinematographer on Game of Thrones and then he shifted fully to directing, becoming a repeat guest director on it for years.  He had really interesting things to say about how the lighting on Ozark has evolved, deciding between “Fire Pink” and “All In” for his submission and also insight into the cinematography field at the Emmys. Not in the video is that he is done on The Witcher and wants to return to Ozark, but they have not offered it yet.

    Semanoff made his directorial debut on Ozark.  He had been a successful camera operator for years (getting a guild nomination for The Night Of, shooting the fight sequences of Creed, previously working on the CSI franchise) and decided that he had basically accomplished what he could in that field.  Especially with him now raising a family, it would have to be more than just money and work for him to board a project and travel for it.  So he drifted from show to show until he finally found a boss who was willing to take a chance on him as a director: Jason Bateman.  So he stuck with this show for years, getting to direct for the first time ever last season, then he got another episode this season and now, he has achieved the highest honour that a television director can get (short of winning, of course).  Also, he almost did not even submit himself for consideration because he was deterred by the $250 fee (not being an academy member because they have no single-camera operator branch and not being in the director branch because he just started); Netflix was not paying, because they only submit one Ozark director per season and that was Sakharov this time.  So I love the personal journey narrative here of Semanoff taking a stand for himself and also Bateman believing in him, with the well-earned payoff of the Emmy nomination.  The interview additionally goes into how they shoot Ozark obviously, plus Semanoff has broader insights the trends of television visuals.


    TV_Sideliner
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    #1203647794

    This is so cool. Congrats on these fantastic interviews — and for the big ones coming down the road. This is really great insight into the process.

    I’m a bit surprised Sakharov hasn’t been invited back yet, though I’m hoping that’s just because they’re getting other key pre-pro logistics in order. (I truly can’t believe they’re going back to shoot in just a couple months.)

    Going to watch your video now!


    Riley Chow
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    #1203655913

    My interview with Ben Semanoff:

    On another note, I have learned that Sakharov was set for six episodes of the final season, including the premiere, but is now going to be directing something else in Hungary instead to be closer to his family.


    TV_Sideliner
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    #1203659420

    ‘Ozark’ showrunner Chris Mundy teases the final season of Netflix drama [EXCLUSIVE VIDEO INTERVIEW]

    Well, Riley managed to get a MAJOR spoiler out of showrunner Chris Mundy regarding the show’s endgame. Wow.

    I say “major” because they never mentioned Wendy and Marty’a fantasy escape plan again in season three. So a lot of people might have forgotten about it.

    Also, I’ve gotta believe they have seasoned directors clamoring at the gates to work on even just one episode of the show.


    Riley Chow
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    #1203659484

    D’oh, I did? Do you mean their Gold Coast plan or did I miss something? Chris Mundy was so great—just about the most fun to talk to out of everyone that I got this year, including our extended Emmy chat that was unrecorded. The only directors that they seem to have now are Louise Friedberg in her show debut and returning guest Amanda Marsalis.


    TV_Sideliner
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    #1203659588

    D’oh, I did? Do you mean their Gold Coast plan or did I miss something? Chris Mundy was so great—just about the most fun to talk to out of everyone that I got this year, including our extended Emmy chat that was unrecorded. The only directors that they seem to have now are Louise Friedberg in her show debut and returning guest Amanda Marsalis.

    Yep, the Gold Coast was mentioned throughout season two and then the notion of escaping was dropped completely in season three. And who knows? Maybe it’s not the Gold Coast, but somewhere equally remote.

    At the beginning of the summer, I didn’t think there was any way to give the Byrdes a truly happy ending. But maybe that is where they safely land at the end of it all.

    Yeah, I think regardless of how the show performs at the Emmys this year, they’re gonna get some great directors who would just be happy to play ball with them even for a couple episodes. Here’s hoping they get more women and POC on board too.


    hopelesstar
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    #1203668267

    It’s quite common for Netflix shows to shoot “parts” back to back and having one released while the other one is still in production (Sabrina for example).


    wolfali
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    #1203668272

    Yes that is true but unlike Sabrina or even The Crown I am intrigued to see whether this is shot in two parts (i.e. are they going to shoot then take a small break and then shoot again) as two separate seasons or are they going to shoot it all together as one season.

    FYC: Better Call Saul, The English and The Good Fight in all categories including Emily Blunt, Bob Odenkirk, Christine Baranski and Rhea Seehorn.


    Riley Chow
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    #1203668870

    I haven’t worked on something like a Netflix show or Ozark but as someone who has worked in post production usually (or rather by convention) all the footage is shot before you go into post production (it’s quite difficult for a showrunner or a producer to work with editors and a post production team on episodes whilst they are in the middle of shooting).

    I think that the exact opposite is true actually.


    wolfali
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    #1203668932

    Ah ok. I guess every production is different? Because I haven’t seen that done before from my experience (but to be fair as a creative whilst I have some experience in the industry I haven’t really gotten so much experience to work on something like a Netflix drama yet).

     

    FYC: Better Call Saul, The English and The Good Fight in all categories including Emily Blunt, Bob Odenkirk, Christine Baranski and Rhea Seehorn.


    TV_Sideliner
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    #1203669075

    Yes, every production is different, and it depends on the studio/network’s planned rollout. I highly doubt that any production would wait for the entire season or blocks to be shot before they start post.

    However, I wouldn’t be surprised if they have the first seven episodes in the can by the spring, while they wrap up the last half. Whether Netflix releases it in time for the Emmys remains to be seen.

    The pandemic has screwed everything up though. So I think it’s all up in the air.


    wolfali
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    #1203669122

    I hope this comes back soon. I need answers!

    FYC: Better Call Saul, The English and The Good Fight in all categories including Emily Blunt, Bob Odenkirk, Christine Baranski and Rhea Seehorn.


    TV_Sideliner
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    #1203669191

    I don’t see how anyone associated with the show, or Netflix for that matter, would want 4B to carry over into Emmys 2023. I cringe just thinking about it.

    So, I’m inclined to think they’re gonna bang it out in time for Emmys 2021.

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